page_title: List of typefaces designed by Frederic Goudy
section_title: 1896 to 1904
hierarchical_section_title: List of typefaces designed by Frederic Goudy / 1896 to 1904
caption_attribution_description: English: Caxton Initials, designed by Frederic Goudy
context_page_description: The following is a list of typefaces designed by Frederic Goudy.
  Goudy was one of America's most prolific designers of metal type. He worked under the influence of the Arts and Crafts movement, and many of his designs are old-style serif designs inspired by the relatively organic structure of typefaces created between the fifteenth and eighteenth centuries, following the lead of earlier revivalist printers such as William Morris. Eric Sloane, who was his neighbour as a boy, recalled that he also took inspiration from hand-painted signs. He also developed a number of typefaces influenced by blackletter medieval manuscripts, illuminated manuscript capitals and Roman square capitals carved into stone. This means that several of his most famous designs such as Copperplate Gothic and Goudy Stout are unusual deviations from his normal style.
  Goudy's taste matched a trend of the period, in which a preference for using mechanical, geometric Didone fonts introduced in the eighteenth and nineteenth century was being displaced by a revival of interest in the 'old-style' serif fonts developed before this, a change that has proved to be lasting, especially in book body text.
context_section_description: Camelot (1896, Dickinson Type Foundry), Goudy designed only the capitals, lower-case letters were later added, presumably by Dickinson's type designer Joseph W. Phinney or his team. A delicate Art Nouveau-inspired display face with small wedge serifs.
  Unnamed (1896) this was a second set of drawings sent to Dickinson Type Foundry that he sent them after they had accepted Camelot.  It was neither accepted nor cast, but Goudy numbered it among his faces.
  Display Roman (1897, nc), based on some lettering in an issue of the British magazine The Studio. Goudy numbered it among his designs, though even he was unsure of what exactly it was beyond being "a display letter leaning to the bold side" or if it had ever been manufactured.
  DeVinne Roman (1898, Central Type Foundry, ATF), a book face based on a display type that had been earlier commissioned by Theodore Low De Vinne.
  Pabst Old Style or Pabst Roman (1902, ATF), based on hand lettering done by Goudy for advertisements for the Pabst Brewing Company, though commissioned by Schlesinger & Mayer, a Chicago department store.  Cast by ATF with the proviso that the department store would have the exclusive use of the font for a time before it would be offered to the public.  The design had a strikingly low x-height.
  Pabst Roman Italic (1903, ATF), a companion to the above. Cut by Robert Wiebking, who would work extensively with Goudy in the following years.
   
  Powell (1903, Keystone Foundry), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned Pabst Old Style for another store), and named after him. Another display type, partially inspired by lettering Goudy had done for the children's book Mother Goose, a design which Goudy felt had been pirated by the Inland Type Foundry as their font 'Hearst'. To give the font a different colour to Pabst or the 'Hearst' font, Goudy attempted to balance the x-height and height of the ascenders and descenders differently.
  Goudy reported in his autobiography that Keystone later created a matching italic.
  The Village series was a family named after Goudy's own Village Press, which came to use it.
  Village (1903, Wiebking, Harding & Co.), cut by Wiebking. It was originally designed for Kuppenheimer & Company for advertising use, who later decided it would be too expensive to cast, and later bought by Frederick Sherman.  The design was very much under the influence of William Morris's 'Golden' type, itself influenced by the 1470s printing of Nicolas Jenson, as well as other (mostly British) fine printers such as the Doves, Montaigne and Merrymount presses. The matrices are still extant and cast by Dale Guild Foundry.
  Village No. 2 (1932, Continental, later Lanston Monotype), cut by Goudy for an edition of Theodore Low De Vinne's The Old and the New, later marketed by Monotype.
  Village Italic (1934, Continental + Lanston Monotype), cut by Goudy.  A companion to the No. 2 face.
  Cushing Italic Goudy thought that Clarence C. Marder asked him to draw an italic to complement ATF's existing Cushing Roman sometime after 1904. However, Goudy was unsure whether they ultimately used his design, and ATF catalogs show it as existing as early as 1898.
  Barron's Boston News Letter (1904, ATF), a private face cut for Clarence W. Barron's financial newsletter, matrices cut by Wiebking. Goudy wrote in 1946 that he had no knowledge of what became of the design and little memory of what it was.
  Engravers' Roman (1904, nc), inspired by copperplate engraving. Goudy was uncertain if this type had ever been cast.
  Copperplate Gothic (1905, ATF), originally designed for Marder, Luse, & Co., ATF immediately adopted it and made it the first in a hugely successful series: Clarence C. Marder and Morris Fuller Benton later cut dozens of variations for ATF. 'Gothic' was a contemporary term for sans-serif typefaces; it has nothing to do with 'gothic' or blackletter writing.
  Master printer J.L. Frazier, no great fan of sans-serif types, wrote of it in 1925 that it was a popular choice for the stationery of professio
caption: Caxton initials in an American Type Founders specimen
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